I think it’s more what’s commonly known as jazz theory that is beneficial to musicians. It clearly deconstructs and defines scales/ arpeggios, chromaticisms, chord structures, progressions ect. This builds the knowledge of the player and therefore gives more solutions to different scenarios independent of the genre played.
You may be surprised how many players have in part studied this even if they’re not known for playing jazz. It’s particularly prevalent in music colleges, but benefits all levels of ability.